Violence in the Classroom: The "Manly Arts of Self-Defense" of the Restoration through the 19th Century

This article is the first in what will be a weekly series that will explore the martial culture of Britain, from the Restoration through the late nineteenth century. Focus will be given to over-viewing the traditional 'English martial arts' and their key historical personages using both period and modern sources. Examination of how these "Manly Arts" were viewed by, and inversely how they impacted, British society will also be a key theme throughout the series.

England (or Great Britain as it was called during the period known as the Restoration and even through the nineteenth century) is not commonly thought of as a place that bred violence. When one thinks of Great Britain images of a country subdued with discontent come to mind in the form of one of William Hogarth’s many engravings or the banter of Jonathan Swift. Yet there was a side to Great Britain during these times that is oft overlooked. It was a side defined by gentlemanly exercise and sportive violence. Long thought simply to be components of Hollywood films or swash-buckling legends, the martial arts of England were neither trite fantasies nor ineffectual pastimes.

It can be logically be followed that wherever violence occurred, historically a civilization would devise a way of incorporating it into society and becoming adept in its profession. There is no dispute that over the course of its existence as a nation, from the times of the Norman Conquest to the English Civil War and even to today, England has been exposed to a substantial amount of violence, be it through war, crime or infighting. It comes as no surprise, then, that there were many who lived through a medium of violence and to do so we required to becoming skillful in its application.

In Great Britain, the axiom could have very well been "Violent fools perish quickly, while violent gentlemen flourish". The art of defending oneself with or without arms was practiced from a quite early period in history. No exception to this was taken during the Restoration through the nineteenth century. As in times before, specialized schools were established to teach the Arts of Defense and war under the auspices of Masters-at-Arms. The same Masters-at-Arms also penned treatises and manuals covering the arts taught in their schools. These Masters-at-Arms were those few men who taught in the Schools of Defense and rested upon the laurels of intensive practice in their field and notable martial feats, earning in every respect the title of ‘Master’.



The British Masters-at-Arms taught a wide array of topics. Ranging from the unarmed science of pugilism (in lay terms, an early form of boxing) to the art of swordplay and even the use of firearms, an Englishman of the period could expect to learn that which might one day save his life, or as the case often was, his honor. Indeed, in the upper classes a strong knowledge and background in the Arts of Defense were considered a part of any education. Just as a gentleman was expected to know French and the latest mathematical theories of the day, he would also be expected to versed in the use of staff, sword and fist.



Yet the practice of arms and the Arts of Defense was not restricted to only the higher echelons of society. Both the lower and middle class also participated in the education provided by the Schools of Defense. Unarmed arts such as pugilism and wrestling were popular with both lower and middle class citizens due to the relatively inexpensive cost of the equipment being used. While swords were costly and therefore could be purchased mainly by those in the upper classes, a set of fists were in the possession of every man, woman and child. Pugilism actually became immensely popular with every tier of British society. Pugilism bouts and tournaments took on a gladiatorial feel to them and became modes in which one could reach the status of celebrity and advance through the social ranks. Other basic weapons, such as the quarterstaff and billhook (a farming implement often used as an improvised weapon) were also popular among those residing in the Britain’s lower social ranks.



Schools, such as the two established by the famous Master-at-Arms James Figg, trained people from every level of society. Although some schools catered mainly to the upper crust of society (such as Figg’s first school), many were open to all. Figg’s Amphitheater, the more popular of his schools, was visited by citizens from every level of British society. It was in his Amphitheater that Figg taught what he noted as the "Manly Arts of Self-Defense". These arts included pugilism, swordplay, and cudgeling (later to be known by its lasting English pastime moniker, singlestick). The title of "Manly Arts" reflected the cultural idea mentioned earlier of gentlemen being expected to be versed in the violent skills taught in schools such as Figg’s.



Although a layer of society unto itself, the martial culture of Britain during the Restoration through the nineteenth century drew the attention of many members of the non-martial culture. Artists such as William Hogarth, famed painter and engraver of works such as "Gin Lane" and "The Enraged Musician" commonly depicted scenes of martial violence and even illustrated James Figg’s business card! The satirist Jonathan Swift also makes mention of the popularity of the knowledge of defense and the art of arming oneself in his book Gulliver’s Travels. In the scene in which the Emperor of Luilliput strips Gulliver of his belongings, some of the items taken include Gulliver’s sword and the pair of pistols kept in his coat, a nod to the fact that as a member of the nobility Gulliver most likely had some knowledge of the Arts of Defense. References and allusions to the Arts of Defense can be found throughout period artworks and texts with but a little examination.

The "Manly Arts of Self-Defense" were an intrinsic part of Britain during the Restoration through the nineteenth century. Their pervasive influence could be seen almost everywhere in Britain and were commonly alluded to in many of the popular artworks and literature of the day. Although born of conflict, the Arts of Defense were equally acceptable in the prestige of court life or on in the dynamic street markets. It was their wide applicability, by all classes, that lent to their longevity and popularity. Through which it can be seen they were an essential piece of English society that undoubtedly helped to shape the culture into what it had been, what it was and what it would be.